Saturday, May 30, 2015

Celebrating our overlooked dance legacy, I co-curated this projection “Come Dance with Me” at the Art Park
– Ireland’s largest outdoor screen, at Spencer Dock, behind Conference
Centre Dublin – on the occasion of Liz Roche Company’s “Bastard Amber”,
the first ever commissioned Irish contemporary dance piece for the Abbey
Theatre main stage, which premiered as part of Dublin Dance Festival
2015. Here it is on vimeo, if you haven’t been able to catch it from
the Luas yet:

It’s running from 10pm – 1am daily until the middle of June.

I was also on Arts Tonight with Vincent Woods earlier this month,
interviewing choreographer Liz Roche, and composer Ray Harman (during
their rehearsals at Dance House), about their contributions to “Bastard
Amber” at the Abbey Theatre as part of the Dublin Dance
Festival (May 19th – 30th). The fact that it’s the first commissioned Irish
Contemporary Dance piece on the Abbey theatre main stage got us
talking about WB Yeats, Ninette de Valois, and the shortlived (1927 –
1933) Abbey Theatre Ballets; as well as "Come Dance with Me",
celebrating our considerable (but often overlooked), dance legacy at The Art Park.
This also led to the mention of an anecdote the late Saoi of Aosdana
Patrick Scott related to me of his young 19 year-old self’s auspicious
chance encounter with the Ballets Jooss and their epic anti-war ballet
“The Green Table” in Dublin at the outbreak of World War Two.

So we can
only imagine he would be delighted with his influence on Liz Roche’s
contemporary dance show at the Abbey.

In case this and the
Dublin Dance Festival is of interest, you can listen back to the full
programme here:
http://www.rte.ie/radio/utils/radioplayer/rteradioweb.html#!rii=9:10415652:1538:11-05-2015:

Saturday, May 2, 2015

It is raining cats and dogs in Dublin as I write this. A dirty day to beat all other dirty days. It now seems like a dream that I was in a pocket of sunshine out on the remote Beara Peninsula, West Cork, a week ago with Out There Productions. Paradoxically, it was the Oscar Wilde Statue in Dublin's Merrion Square that brought us to Beara.

Geraldine and Danny Osborne, in Danny's studio with elements of Oscar

For this remote outpost of Ireland is where intrepid sculptor Danny Osborne made his masterpiece Oscar Wilde Memorial Statue, and we are making a short documentary on this delightful and most fascinating subject. It took me all of eight hours to drive there, in my stalwart jalopy. It should take at least two hours less than that, and I take full responsibility for the extra two. But I got there, laden with all the lighting and filming equipment in tact. The tribulations of the journey, and the repeated attempts at getting the car over the top of various hills (seriously!) dissolved the minute I set eyes on the spectacular view from my destination the edge of the Beara Peninsula.

This is the reason mysterious places like Dun Aengus are where they are, I reckon. No surprise then that the Buddhist Meditation centre Dzogchen Beara, which was at the top of my "to check out" list was also nearby, drawn no doubt towards the spectacular, almost abstract, view of sky and sea.

I was in a magic zone, where donkey sanctuaries and animals with special needs (for example the one-legged gannet) rule. An artist and meditator-strewn peninsula.

Mia Mullarkey, DOP & Editor

Mia Mullarkey, our DOP and editor, followed down by train to Cork, and mini-bus to Castletownbere. The sun came out, Lanzarote-style for our shoot.

Bord Failte will be delighted with the immortalisation of these weather conditions.

The shoot went well, and I dropped Mia back for her 8.30pm train from Cork to Dublin.

Danny Osborne's Studio

Selfie with Danny and Oscar in Studio

The next morning the clouds had moved in across our view and it was lashing rain. A day pretty much like today. I was delighted though, that the shoot was on the right side of that grey deluge. Where there was blue, as far as the eye could see, and blinding light, now all was shrouded in steely grey. You would never guess what lay behind it, if you didn't already know.

Sarah Walker Gallery, Castletownbere

On the way home to Dublin I took at pitstop at the amazing Sarah Walker Gallery on the Harbour at Castletownbere, and among many other lovely things in the group show, admired paintings by Tempy Osborne (daughter of Danny and Geraldine). The gallery doubles up as a gig venue too for "High Tide at the Sarah Walker Gallery". Hope I make one of those some time.

Interior, Sarah Walker Gallery, Castletownbere

View out the door, Sarah Walker Gallery

Paintings by Tempy Osborne at Sarah Walker Gallery

Now safely back in the big shmoke (the drive back took five and a half hours, I'm getting better at this), I'm looking forward to putting this video together over the next couple of weeks, in between other engagements connected with the impending Dublin Dance Festival - more of which anon!

Friday, April 10, 2015

My contributor copy of this month's Tanz Magazin
just arrived in the post! I'm thrilled to see Erina Brady getting (long
overdue) recognition for her overlooked contribution to Irish cultural
history in this month's edition of this important publication! There is
the mighty Olwen Fouere as Erina Brady between takes in CoisCeim Dance
Studio where we re-created and shot the 1940s Boho Dublin "Bottle and
Pyjama Party" scene, choreographed by Jessica Kennedy of Junk Ensemble.
Taking their twirl as 1940s Bohemians on the set of this imagined
Bottle & Pyjama Party we have Liadain HerriottGary FarrellyHelen McNultyMegan Kennedy Marc Brady and Dragana Jurisic (Dragana also took the on-set photographs).
The lovely photo of Erina and her dog Scamp in her Brione hammock in
the 1950s is taken by the great Walter Kuhn (original dancer with the
Ballets Jooss, and husband to Ireland's first modern dancer, the late
June Kuhn). Tanz Magazin published an adaptation of my script
for Dance Emergency, translated into German by Marc Staudacher. The
English text is available at www.kultiversum.de/tanz

Thursday, March 26, 2015

I was honoured to be invited to present work at this year’s
Belgrade-Irish Festival by Dubliner Jas Kaminski, director of the
festival which is in its 3rd year.

I had emailed Jas to let him know about my photo-documentary project
“Journey to YU (in the footsteps of Rebecca West), about Dragana
Jurisic’s extraordinary RHA and Belfast Exposed exhibition “YU – The
Lost Country”, when it was but a Kickstarter project, in December 2014.
The three of us met for coffee in Temple Bar when he was home for
Christmas, after which he said he would like to schedule our project
about Rebecca West, Dragana Jurisic's photography and former Yugoslavia
as part of his 2015 festival. In a world that is full of waffle, and
“plans” that don’t materialise, fair play to Jas for seeing
this one through with flying colours.

True to his word, he flew both
myself and Dragana to Belgrade on March 14th, and kindly
hosted the world premiere of “Journey to YU (in the footsteps of Rebecca
West)” to a packed house (there weren’t enough chairs for everyone), in
UK Parabrod, a gorgeous 1920s Belgrade Arts Centre whose name means
“Steamship”.

The audience was wide-ranging, from a Serbian Orthodox
priest and his family, to Dragana’s mother, sister-in-law, cousins, to
the cool intelligentsia of Belgrade (there are many of the latter).

It was nerve-wracking premiering
work which touched on sensitive topics such as the recent wars and its
traumatic effects in front of such an audience.

How can I put this, we
were the opposite of smug, and ready for any kind of landmine to
explode. So you can imagine the relief when people poured out of the
screening extremely moved. Apparently the personal truths recounted in
the documentary managed to sidestep anything that might be considered
partisan or offensive to anyone. Phew! The documentary was screened once more on March 18th to
another fascinating audience, many of whom came out teary-eyed, in
empathy and recognition at what they had just witnessed, and in
admiration of Dragana’s brave art.

Dragana’s beautiful, lateral
images as she followed in Rebecca West’s 1930s footsteps were another
emotional and aesthetic boon. So it was a huge success, and I am very
grateful to the team at Belgrade-Irish Festival for giving us this
opportunity to premiere Journey to YU in Belgrade itself - also
highlighting the connections between Ireland and the intriguing region.

The next day was St. Patrick’s day. Like a good cailin I donned my Sharon Beatty
Emerald Green Dress, and made my way to Belgrade University’s Department
of Philology to deliver a talk on the amazing WB Yeats, in introduction
to an excerpt of “Just the Lads” Balkan version of one of his Plays for
Dancers, “The Dreaming of the Bones”.

It was a heartening and
energising experience to share the news of WBY and his eclecticism to
these young Serbian students, who soaked it all up for future reference.

Next
stop was the floating restaurant Corso, where his excellency the Irish
Ambassador to Greece and the region, Noel Kilkenny, ceremoniously turned
the Ada bridge green after sunset in honour of our patron Saint.

It was
a wonderful evening, in the presence of Irish living in the region, as
well as Ambassadors of several other nations. I was delighted to see
Garret Tankosic-Kelly, originally from Limerick, arrive from Sarajevo
(where he has been living for more than two decades), with his partner
Nerma Sofic adding his charisma into the mix. Belgrade is well known to
be a party capital, and many of us proceeded to dutifully burn the
candle at both ends.

Life being short, of course that approach is de
rigueur to make the most of such rare and special opportunities for
“inter-cultural dialogue”!

A lively
post-show discussion ensued. People were fascinated to discover this
unknown, embodied Bohemian dimension to Ireland during “The Emergency”,
and of course were enthralled by Olwen Fouere’s riveting performance as
the exotic Irish-German Erina Brady. Fouere’s voice as Rebecca West had
also stopped quite a few audience members in their tracks in “Journey to
YU…” earlier in the week. There was also a promise from a Serbian Dance
Afficionado to translate the script for Dance Emergency, which is
appearing in German and English in Tanz Magazin next month, into
Serbian. That would be wonderful - I'll keep you posted...

Brian Willis at Kinotek, Belgrade, after "Short Order" screening

As
part of the BIF programme I was thrilled to catch a luscious 35mm print
of Neil Jordan’s first film “Angel” at the Kinoteka, as well as Brian
Willis’s gorgeous feature “Short Order”, including a discussion with the
producer himself who was in the house with his brother Ian.

Lisa
Hannigan brought the packed house down with her dulcet tones as
festival headliner in Duomo and made us all proud to be Irish. For her
finale she performed a jam with local band Stray Dogg (who supported),
and did a Sean Nos style rendition of Seamus Heaney poem Anahorish.
Magic. And yes, we watched the rugby, in an Irish pub of course.

As
you can imagine, the 9 days were action-packed with other
inter-cultural extra-curricular activity like dancing to live Balkan
Bossa Nova at one of our (several) new friend’s birthday party until
dawn (it would be rude not to!), and checking out a rave with the
Bosnian Beatshakers in top Guardian-recommended nightspot Mixer.

Yes, we
familiarised ourselves with Rakija. Another old Dublin friend, Orla
Rutten, jumped at the opportunity to discover Belgrade and catch up over
strolls in Ada (Belgrade’s answer to the Hamptons), flying across from
Holland.

We were lucky to be accommodated in funky Belgrade hotspot
Smokvica, where you just had to sit out in the sunny courtyard, or down
in the buzzing restaurant area to connect with the pulse of cool
Belgrade. This is a buzzing city, full of upbeat energy.

I’m
glad I got to meet the busy Dijana Milosevic of DAH Theatre, for coffee
and a cake in her sister’s exquisite cake shop, the poetically titled
Little Prince. I was fortunate to encounter Dijana at the “Theatre and
War” Symposium at Dublin’s Abbey Theatre in January, which led to her
short and significant contribution to “Journey to YU (in the footsteps
of Rebecca West)". Among many other projects, I was intrigued to hear of
her current important work with “Women in Black”, establishing a female
court for female survivors of violence and rape during the war – which
will emerge into the light of day this June (marking the 20 year
anniversary of Srebeniza), in an 800-seater theatre, so I will be
keeping my eyes peeled for that.

After the solar
eclipse, which I was lucky enough to catch a glimpse of through a public
telescope while out on a run through Kalamegdon / Belgrade Fortress
(While making an effort to train for the 10km “Great Run” in Phoenix
Park on April 11th) our final event was another presentation on the
cosmic world of WB Yeats at Kulturini Centar Beograda on World Poetry
Day.

The place was jam-packed - with many poets in the house, we were
told.

We treated them to a select few of Donnacha Dennehy’s settings of
Yeats poems performed by Dawn Upshaw and the Crash Ensemble from his CD
“Gra agus Bas”, after an introduction by yours truly, followed by an
excerpt from my radio documentary “WB Yeats – Words for Music Perhaps”,
renditions of the poems by Liadain Kaminska ni Bhraonain and Joan Somers
Donnelly (from Just the Lads theatre company), and a short presentation
by local PhD candidate Stefan Pejic, including Irish poems translated
to Serbian. So there was something for everyone in the audience.

I
am writing this now in Temple Bar Gallery and Studios (alas my final
week moonlighting here) so have made it home in one piece and live to
tell the tale! Belgrade-Irish Festival was a fabulous experience, and
huge thanks are due to the BIF team, Jas Kaminski, Aleksandra Samardzik
and Nikola Todorovic for all their hard work, super design, and good humour in putting all
of this together. Thank-you for an unforgettable nine days which will
hopefully snowball into more wonderful intercultural connections between
our two countries, and ourselves. I could go on, but better to stop
here for now! To be continued…